For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This qualitative study (...) investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music. (shrink)

In this paper I discuss some conditions forunderstanding teaching as an act ofresponsibility towards an other, rather than asan instrumental act identified throughepistemology. I first put the latter intocontext through a critical reading of teachingas it is inscribed in humanistic discourses oneducation. Within these discourses, I explorehow students are treated as objects ofknowledge that reinforce the teacher's ego. Icontend that the taking up of this positionmakes not only an ethical relation to thestudent impossible, but also disqualifies anytype of (...) meaningful social relation. Therefore Iargue that teachers have to give up theirposition on the safe side of knowledge andparticipate in the time of risk when meetingthe other means to take responsibility for thatother from a position of vulnerability.Moreover, it is precisely because of this riskthat teaching as an ethical relation becomespossible and where it begins to resound withpoetry. (shrink)

Spectroscopy is a scientific topic at the interface between Chemistry and Physics, which is taught at high school level in relation with its fundamental applications in Analytical Chemistry. In the first part of the paper, the topic of spectroscopy is analyzed having in mind the well-known Johnstone’s triangle of chemistry education, putting in evidence the way spectroscopy is usually taught at the three levels of chemical knowledge: macroscopic/phenomenological, sub-microscopic/molecular and symbolic ones. Among these three levels, following Johnstone’s recommendations the macroscopic (...) one is the most useful for high school students who learn spectroscopy for the first time. Starting from these premises, in the second part of the paper, we propose a didactic sequence which is inspired by the historical evolution of spectroscopic instruments from the first spectroscopes invented by Gustav Kirchhoff and Robert Bunsen in 1860 to the UV–vis spectrophotometers which became common since the 1960s. The idea behind our research is to analyze the conceptual advancements through the history of spectroscopy and to identify the key episodes/experiments and spectroscopic instruments. For each of them, a didactic activity, typically an experiment, is then proposed underlining the relevant aspects from the chemistry education point of view. The present paper is the occasion to reflect on the potentialities of an historical approach combined with a laboratorial one, and to discuss the role of historical instruments and related technological improvements to teach spectroscopy. (shrink)

Following from sweeping law reforms across the global health landscape, there is a need to prepare the next generation to advance global health law to ensure justice for a healthier world. Educational programs across disciplines have increasingly incorporated the field of global health law, with new courses examining the law and policy frameworks that apply to the new set of public health threats, non-state actors, and regulatory instruments that structure global health. Such interdisciplinary training must be expanded throughout the world (...) to prepare future practitioners to strengthen global health law — ensuring a foundation for global health in legal studies and law and global health studies. Meeting this imperative for global health law teaching — establishing academic courses and textbooks on global legal responses to shared health threats — will be necessary to support students to address the global health challenges of the future. (shrink)

This paper focuses on the structure and substance of the Core Content Framework (CCF), a controversial document which stipulates content that providers of teacher education in England must incorporate in their programmes. We identify both a concept of instrumental trainability and a lack of coherence in the CCF which suggests it is unsuitable as a guide to a curriculum for teacher education. Drawing on Bernstein’s work and its application by other sociologists of educational knowledge, we identify how the CCF (...) embeds a ‘generic mode’ in teacher education that has roots outside of disciplinary structures of knowledge production and therefore foregrounds a type of official pedagogy that sees teaching as a technical performance and leaves gaps in the knowledge and understanding a new teacher requires to make sound educational judgements. Employing Muller’s distinction between conceptual and contextual coherence, we argue that the CCF is based upon an imaginary notion of instructional practice that does not fully grasp the context of teachers’ work. We illustrate the argument via an analysis of the language, structure, and three of the eight sections in the CCF. (shrink)

Historians have used university statutes and acts to reconstruct the official astrology curriculum for students in both the arts and medical faculties, including the books studied, their order, and their relation to other texts. Statutes and acts, however, cannot offer insight into what actually happened during lectures and in the classroom: in other words, how and why astrology was taught and learned in the medieval university. This paper assumes that the astrology curriculum is better understood as the set of practices (...) that constituted it and gave it meaning for both masters and students. It begins to reconstruct what occurred in the classroom by drawing on published and unpublished lecture notes. These offer insight into how masters presented the material as they did, and why. The paper argues three points: first, the teaching of astrology centered on demonstrations involving astrological instruments: specifically, various kinds of paper astrolabes. Second, the astrological instruction focused on conveying the pragmatics of astrology rather than esoteric, theoretical issues. Finally, astrology as it was taught in the arts curriculum was explicitly intended to provide a foundation for students who would advance to study medicine at the university. (shrink)

Summary 1898 marked a crucial point in the end of the nineteenth-century Spanish crisis. The military defeat ending the Spanish-American War was seen as proof that the country was in terminal decline. With the ideals of regeneration spreading throughout Spanish society, the State became more interested in supporting and sponsoring science and technology, as well as in creating a modern educational system. The resulting reforms reflected this strong interest in scientific education, and consequently, the first decades of the twentieth century (...) saw a turning point in the development of science and technology in Spain. Some recent papers have discussed various initiatives taken by Spanish governments, particularly in the creation of new official institutions. Such institutions played an important role in the development of science and technology, but their activity in the promotion of scientific education was very limited. However, other governmental initiatives were taken in order to develop this area, particularly focusing on the acquisition of scientific instruments. Scientific instruments were needed not only to improve Spanish scientific research but also to improve the teaching of experimental sciences. These instruments were specifically adapted for use by students. This paper aims to present some of the lesser-known individuals and firms who, in the new social and cultural context, provided scientific instruments for educational centres in order to meet the increasing demand for this material in Spanish educational institutions during these years. (shrink)

In this paper we describe the objectives of teaching medical ethics to undergraduates and the teaching methods used. We describe a workshop used in the University of Liverpool Department of Psychiatry, designed to enhance ethical sensitivity in psychiatry. The workshop reviews significant historical and current errors in the ethical practice of psychiatry and doctors' defence mechanisms against accepting responsibility for deficiencies in ethical practice. The workshop explores the student doctors' own group ethos in response to ethical dilemmas, and (...) demonstrates how the individual contributes to and is responsible for the group ethos through participation and also through nonparticipation. The student feedback about the workshop is reviewed. The Toronto Ethical Sensitivity Instrument was used to assess whether or not the workshop altered sensitivity. Compared to a control group the attenders' sensitivity was significantly increased (on Student's t-test p equals or is less than 0.002). (shrink)

The purpose of this paper is to re-examine the nature of “meaning” and “meaningfulness” in the context of instrumental music education. By doing so, I propose to expand the ways in which instrumental music educators conceive their mission and the ways in which we may instill meaning in people’s lives. Traditionally, pursuits of philosophical deliberation have claimed that meaningfulness comes from either personal happiness (e.g., Jeremy Bentham and John Stuart Mill) or an impersonal sense of duty (e.g., St. (...) Augustine, St. Thomas Aquinas, and Immanuel Kant). However, philosopher Susan Wolf (2010) criticizes these positions in favor of a broader perspective, one that arises from understanding that there is a third sort of value, namely “meaningfulness.” Rightly understanding meaningfulness may help us engage more fully with a greater sense and understanding of the full potentials of eudaimonia: a life of significance and value for oneself and one’s community. Therefore, this paper links meaningfulness to a 4-E (embodied, embedded, enacted, and extended) account of “sense-making” in/for instrumental music education. In doing so, I discuss the aims of public-school music education; aims that engage teachers and students in meaningfulness—a meaningfulness that is ethical, embodied, enacted, and extended—in, with, and through musics and, more directly, “instrumental” music making. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 20-37 [Access article in PDF] Aesthetic Teaching Mark A. Pike I think aesthetic teaching is the highest of all teaching because it deals with life in its highest complexity. But if it ceases to be purely aesthetic — if it lapses anywhere from the picture to the diagram — it becomes the most offensive of all teaching.1George Eliot (...) asserts that "the highest of all teaching" which "deals with life in its highest complexity" is essentially aesthetic in character for it has features of the "picture" or work of art rather than the more straightforwardly instructional "diagram." Yet, George Eliot not only ascribes greatest worth to teaching that is aesthetic but considers teaching that is merely diagrammatic to be "the most offensive of all teaching." Evidently, there are similarities between pictures and diagrams but essential features present in the former are conspicuously absent from the latter. The current obsession with effectiveness in teaching and repeated attempts to reduce that which should be aesthetic and inspired to the wholly rational, diagrammatic and instrumental make George Eliot's views remarkably pertinent. Consequently, features of aesthetic teaching will be explored in this essay. In doing so it will be suggested that Martin Heidegger's ontology (theory of existence) offers a philosophical foundation for conceiving teaching in the arts as a form of engagement with students which is unreservedly aesthetic in character. As such, Heidegger provides us with a valuable position from which to counter forces that militate against the aesthetic in our schools and also provokes us to eschew all that is diagrammatic in our approach to that which is rightly aesthetic. Teaching: Drawing the Diagram or Painting the Picture? Teaching is currently being construed, in both the United Kingdom and the United States, as a technology with which to get something done or as a [End Page 20] vehicle which "delivers" a subject in an efficient or effective manner, or even as a science where the analytical approach is the method for problem solving. Even as I write, I find myself part of a proposed "delivery team" for literature education. It appears that this is the sort of language policy makers in a rational economy like to hear. Any dissenting voices, those subscribing to a view of teaching as an art itself, are considered dangerous as they jeopardize progress in our brave new world. For example, in their introduction to Effective Teaching — Evidence and Practice, Daniel Muijs and David Reynolds articulate the view that construing teaching as an art rather than a technology may be responsible for the lack of excellent teachers in our schools.2 In marked contrast to George Eliot, they suggest "the view that teaching is an 'art,' not a science" results in attention being devoted to "personal factors and qualities" which are "often idiosyncratic and difficult to influence by educational policies."3 Further, they suggest that the placing of education within the humanities tradition — is clearly wrong and probably condemns societies where it is prevalent to having only those small number of excellent teachers who inherit the "art," rather than the larger number who could acquire the applied science of a teaching methodology.4It is difficult to conceive of a position further removed from George Eliot's ideal of aesthetic teaching. There are, of course, a number of problems with reducing teaching to a technology, or an applied science, as Muijs and Reynolds prefer to call it. Such argument betrays the assumption that the world can be known in a rational, analytical and scientific way. The concomitant of this view is the misguided belief that teaching about such a world can be precisely planned, implemented and assessed. Elliot Eisner is surely more accurate when he explains that "teaching is a form of human action in which many of the ends achieved are emergent" and that these ends are often "found in the course of interaction with students rather than preconceived."5 Clearly, allowing "for the creation of ends in process" necessitates "a model of teaching akin to other arts."6 This is more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 20-37 [Access article in PDF] Aesthetic Teaching Mark A. Pike I think aesthetic teaching is the highest of all teaching because it deals with life in its highest complexity. But if it ceases to be purely aesthetic — if it lapses anywhere from the picture to the diagram — it becomes the most offensive of all teaching.1George Eliot (...) asserts that "the highest of all teaching" which "deals with life in its highest complexity" is essentially aesthetic in character for it has features of the "picture" or work of art rather than the more straightforwardly instructional "diagram." Yet, George Eliot not only ascribes greatest worth to teaching that is aesthetic but considers teaching that is merely diagrammatic to be "the most offensive of all teaching." Evidently, there are similarities between pictures and diagrams but essential features present in the former are conspicuously absent from the latter. The current obsession with effectiveness in teaching and repeated attempts to reduce that which should be aesthetic and inspired to the wholly rational, diagrammatic and instrumental make George Eliot's views remarkably pertinent. Consequently, features of aesthetic teaching will be explored in this essay. In doing so it will be suggested that Martin Heidegger's ontology (theory of existence) offers a philosophical foundation for conceiving teaching in the arts as a form of engagement with students which is unreservedly aesthetic in character. As such, Heidegger provides us with a valuable position from which to counter forces that militate against the aesthetic in our schools and also provokes us to eschew all that is diagrammatic in our approach to that which is rightly aesthetic. Teaching: Drawing the Diagram or Painting the Picture? Teaching is currently being construed, in both the United Kingdom and the United States, as a technology with which to get something done or as a [End Page 20] vehicle which "delivers" a subject in an efficient or effective manner, or even as a science where the analytical approach is the method for problem solving. Even as I write, I find myself part of a proposed "delivery team" for literature education. It appears that this is the sort of language policy makers in a rational economy like to hear. Any dissenting voices, those subscribing to a view of teaching as an art itself, are considered dangerous as they jeopardize progress in our brave new world. For example, in their introduction to Effective Teaching — Evidence and Practice, Daniel Muijs and David Reynolds articulate the view that construing teaching as an art rather than a technology may be responsible for the lack of excellent teachers in our schools.2 In marked contrast to George Eliot, they suggest "the view that teaching is an 'art,' not a science" results in attention being devoted to "personal factors and qualities" which are "often idiosyncratic and difficult to influence by educational policies."3 Further, they suggest that the placing of education within the humanities tradition — is clearly wrong and probably condemns societies where it is prevalent to having only those small number of excellent teachers who inherit the "art," rather than the larger number who could acquire the applied science of a teaching methodology.4It is difficult to conceive of a position further removed from George Eliot's ideal of aesthetic teaching. There are, of course, a number of problems with reducing teaching to a technology, or an applied science, as Muijs and Reynolds prefer to call it. Such argument betrays the assumption that the world can be known in a rational, analytical and scientific way. The concomitant of this view is the misguided belief that teaching about such a world can be precisely planned, implemented and assessed. Elliot Eisner is surely more accurate when he explains that "teaching is a form of human action in which many of the ends achieved are emergent" and that these ends are often "found in the course of interaction with students rather than preconceived."5 Clearly, allowing "for the creation of ends in process" necessitates "a model of teaching akin to other arts."6 This is more... (shrink)

This book has been written primarily for the applied and social scientist and student who longs for an integrated picture of the foundations on which his research must ultimately rest; but hopefully the book may also serve philosophers interested in applied disciplines and in systems methodology. If integration was the major motto, the need for a method ology, appropriate to the teleological peculiarities of all applied sciences, was the main impetus behind the conception of the present work. This need I (...) felt a long time ago in my own area of analytical and empirical research in accounting theory and management science; later I had the opportunity to teach, for almost a decade, graduate seminars in Methodology which offered particular insight into the methodological needs of students of such applied disciplines as business administration, education, engineering, infor matics, etc. Out of this effort grew the present book which among other things tries, on one side, to illuminate the difference and relationship between methods of cognition and methods of decision and on the other, to sketch a framework suitable for depicting means-end relationships in a holistic setting. I believe that a systems methodology which incorporates recent endeavours of deontic logic, decision theory, information economics and related areas would be eminently suited to break the ground for such a future framework. Yet systems theory has two major shortcomings which might prevent it from evolving into the desired methodology of applied science. (shrink)

This exhaustively-researched, carefully-focused book asks whether imagination, emotion and art can enlighten our sense of right and wrong, looking at this question through the lens of moral philosophy with contributions from cognitive science, psychology and neurology. If moral thinking is simply logical reasoning or following God-given law, why did the poet Shelley say that “the great instrument of moral good is the imagination”? Why does ethical reasoning tend towards absolutes: something is either right or wrong, period, while a thoughtful minority (...) values the “priority of the particular” – that unique aspects of a situation may come closer to the heart of the matter than any general rules could? Are emotions, as many philosophers in history have theorized, only a distraction from the clear perception of duty, or do feelings add something important, even critical, to how we judge good and bad, right and wrong? Can great works of art and literature embody imagination, the particular, and emotions to illuminate human life in ways crucial to ethical thinking? This book introduces an original idea in philosophy, “moral density,” which for the first time elucidates the profound relation between art and ethics. Written for the literate layperson, an academic or technical background is not necessary, so this book will be of interest not only to philosophers and educators, but to all who are concerned with what is good, and how to see it and teach it. (shrink)

With the outbreak of COVID-19 pandemic in 2020, teaching online became a norm for universities in Canada. Besides the challenges of teaching topics that may be impossible to be taught online, a major issue that the mandatory physical distancing brought is the relationality between teachers and students. In order to investigate how educators were making sense of such changes, semi-structured interviews were conducted with 12 education professors across Canada. In light of Derrida’s and Ruitenberg’s ethic of hospitality, this (...) paper explores how the abrupt shift to online education unveiled the nature and challenges of hospitable education, especially in the online context. The implications of online instruction to professors’ relationality, however, are also instrumental in illuminating the complexities and ambiguities of a teacher’s responsibility even in what could be considered the “normal circumstances” of face-to-face instruction. (shrink)

This paper proposes laying the groundwork for principled moral reasoning as a seminal goal of ethics interventions in higher education, and on this basis, makes a case for educating future specialists and professionals with a foundation in philosophical ethics. Identification of such a seminal goal is warranted by the progressive dissociation of scientific practice and ethical deliberation since the onset of a problematic relationship between science and ethics around the mid-19th century, and the extensive mistrust of integrating ethics in science (...) and engineering curricula beyond its “applied,” “practical,” or “professional” implications. Although calls by international scientific and educational bodies to strengthen ethics teaching in scientific education over the past quarter century have brought about a notion of combining competence in a certain field with competence in ethics, this is neither entrenched in the academic community, nor fleshed out as regards its core or instruments to realize it. The legitimate goals of ethics teaching in higher education, almost settled since the 1980s, can be subsumed under the proposed seminal goal, and the latter also would safeguard content and methods of ethics interventions against the intrusion of indoctrinative approaches. In this paper, derivation of the proposed seminal goal rests on an interpretation of the Kohlbergian cognitive-developmental conception of moral adulthood consisting in autonomous principled moral reasoning. This interpretation involves, based on Kant’s conception of the virtuous person, integrating questions about the “good life” into the domain of principled reasoning. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance learning contexts, a thematic analysis of semi-structured interviews with the learners revealed how the teaching approach proposed has generally facilitated learning. Qualitative findings highlight the importance of establishing meaningful (...) relationships with the musical instrument as well as with other students to build musicality, and of the interplay between creativity and control in individual and collective music-making activities. We suggest that remote music tuition with a small group can be a valuable resource to start learning music and that a creative, collaborative, and movement-based approach can contribute to musical growth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Thinking Musically, and: Teaching Music GloballyJames AckmanBonnie C. Wade, Thinking Musically ( Oxford University Press: New York, 2004)and Patricia Shehan Campbell, Teaching Music Globally ( Oxford University Press: New York, 2004).Thinking Musically and Teaching Music Globally, the first two volumes in The Global Music Series, for which Wade and Shehan are general editors, offer concisely stated themes that permeate their texts and the authors' extensive (...) use of cross-referencing provides music educators at all levels the resources to achieve their educational and musical goals.Thinking Musically begins with Bonnie Wade's statement of the purposes of the book, which are to offer "a basis for the contrast and comparison of diverse 'musics,'" "provide a set of unifying topics that recur in multiple case studies," and "frame and complement a series of cases studies in The Global Music Series."1 Wade states unequivocally that Thinking Musically is ultimately a study of musical practices and ideas from around the world and that at its core, Thinking Musically "is a teaching book."2 A unifying theme throughout the volume is the view of how people constantly make music meaningful in their lives, including how music functions within a social group or particular society.3Thinking Musically includes a fifty-nine track CD containing musical examples that are designed for inclusion in the lessons and projects outlined in the [End Page 81] series. These provide aural illustrations of the topics discussed in each chapter. Activities include musical examples chosen by students which relate to the topic. The first chapter, "Thinking About Music," is based upon the concept of furthering students' awareness of musics beyond their everyday comfort level. Wade states that music is a process and not simply a method of organized sounds or compositions,4 and discusses music in terms of sound, values, and aesthetics.A striking aspect of this chapter is Wade's in-depth discussion of the contextual meaning of music within various cultures. Using such exotic examples as Central Javanese gamelan and a Navajo work song,5 she explores the rich variety of aural experiences available to students. The suggested activities exhibit Wade's understanding of educational philosophy and her awareness of what educators require in structuring appropriate musical experiences for their students.In Chapter 2, "Thinking About Instruments," Wade examines the roles of musical within a particular society and the topic of cultural diffusion.6 A succession of examples of instruments and musicians emphasizes her point that music has historically been interwoven with culture and society. Suggested activities include identifying extra musical links with instruments7 as a method of increasing students' awareness of music in daily life events, "the nature of the musical roles (of) musicians," and the meaning of musical terms (for example, soloist, accompanist) within the context of culture. Examples are drawn from the familiar, such as "New Orleans front-line," and the exotic, a North Indian singer.8Chapters 3–5 ("Thinking About Time," "Thinking About Pitch," and "Thinking About Structure") are devoted to the basic elements of music. Musical time is explored through its origins and function within specific cultures. Again, Wade uses an assortment of musical examples drawn from throughout the world in order to emphasize her points.Both the strongest and weakest aspects of the author's presentation style are on display in these three chapters. Wade has included an abundance of detailed suggested activities pertaining to various rhythmic concepts, such as Southeast Asian colotomic structure and Korean changdan, replete with detailed charts for presenting the material. Yet the amount of detail included borders on minutiae and the resulting format risks information overload for both teacher and student. A separate activities booklet might help reduce some of the clutter and also allow teachers to select more easily the concepts and activities they would like to use for a particular class session or unit.In chapter 6, "Thinking about Issues," Wade examines some arguably contentious topics that impact contemporary music education, including acculturation, gender, and "global versus local,"9 where her pithy assertions are eloquently presented. Student activities are designed to demonstrate the interconnectedness of musics among nations and communities as well as authenticity in their own cultures.10... (shrink)

Critical thinking is viewed as an important outcome of undergraduate education by higher education institutions and potential employees of graduates. However, the lack of clarity and inadequate assessment of critical thinking development in higher education is problematic. The purpose of this study was to develop instruments to assess the competence of faculty to develop critical thinking of undergraduate students as perceived by students and by faculty themselves. The measures of critical thinking teaching were developed in two phases. Phase I (...) focused on development of critical thinking items while Phase II focused on initial validation of the critical thinking inventories. Six brief instruments were developed, all with high reliability and validity. Scale length ranged from 10 to 13 items. Four measures captured students’ perceptions of learning critical thinking and constituted the Learning Critical Thinking Inventory . Two scales were intended for faculty to assess their perceptions of the extent they facilitated learning critical thinking in their teaching, and these constituted the Teaching Critical Thinking Inventory . The psychometric characteristics of the inventories meet high standards, the measures are sufficiently brief to make them suitable for repeated administration, and different parallel forms are of great value for multiple administrations. (shrink)

A partir del registro etnográfico correspondiente a un curso de Liderazgo en una escuela de negocios del Gran Buenos Aires, este trabajo aborda la relación entre los objetivos educacionales (el «para qué» de la enseñanza), el contenido (el «qué» de la enseñanza) y las acciones e interacciones dentro del aula. Intenta mostrar la tensión que se establece entre la lógica de la eficiencia –que estructura la tarea del sistema educativo– y la lógica vincular de un «imaginario managerial» (Alonso y Fernández (...) Rodríguez, 2006) que tácitamente condiciona la actividad de docentes y cursantes.From the ethnographic record of a Leadership course in a Business School close to Buenos Aires, this article analyzes the relationship among educational goals (purposes of teaching), content (topics to be taught) and interactions in the classroom. It attempts to underscore the tension between the instrumental rationality grounded in the educational system and the relational rationality underlying a «managerial imaginery» (Alonso y Fernández Rodríguez, 2006) which tacitly conditions teaching and learning activities. (shrink)

While contemplative practices have emerged from wisdom-traditions, the rhetoric surrounding their justification in contemporary public educational settings has been substantially undergirded by the scientific evidence-based approach. This article finds the practice and construct of ‘attention’ to be the bridge between this peculiar encounter of science and wisdom traditions, and a vantage point from which we can re-examine the scope and practice of ‘education’. The article develops an educational typology based on ‘attention’ as a curricular deliberation point. Every pedagogical act rides (...) over a meta-pedagogical injunction of where to attend to find that which society deems worthwhile. The deep curricular teachings thus begin in the question where knowledge of most worth exists and precede content. It is at this hidden level in which our spatial-temporal disposition towards life-meaning can be shaped. Following this typology, the article will suggest that beyond what may be critiqued as instrumental mindfulness-based curricular ‘interventions’ that cater to an economic educational narrative, lurks the trajectory of a contemplative educational turn that may be outwitting over-instrumentalisation through wisdom-traditions. (shrink)

At present, instrumental music education, defined in this paper as the teaching and learning of music through wind bands and symphony orchestras of Western origin, appears embattled. Among the many criticisms made against instrumental music education, critics claim that bands and orchestras exemplify an authoritarian model of teaching that does not foster democracy. In this paper, I propose a theoretical framework by which instrumental music education may be conceived democratically. Since educational bands and orchestras have (...) achieved global ubiquity, I theorize broadly for both the East and the West and draw on ancient Chinese philosophy and American pragmatism as sources of inspiration to construct the theory. This theory comprises a quintet of themes that emerge from a comparative analysis of key philosophical texts by Confucian and pragmatist philosophers, namely, the people, participation, equality, cooperation, and conflict. This paper aims to address critical issues in instrumental music education with respect to democracy, complement extant music education philosophies, and serve as a first step towards a transcultural philosophy of music education relevant to the interconnected world in which we live. (shrink)

The contribution of data use in schools has been proven via visible changes in policy and practice in schools, changes in practitioners learning or cognition and changes in opinions or attitudes regarding teaching or policy-making. Nevertheless, limited research is available on the extent to which data use in schools results in the aforementioned effects and how they can be explained by data use expectations and collaboration. This paper addresses both issues by describing and explaining data use effects via a (...) large-scale study in Flanders. Data collected from 1472 teachers indicate that, although teachers are moderately positive about the extent to which data use results in different types of effects, data use effects cannot be taken for granted. Structural Equation Modelling shows that explicating data use expectations and data use collaboration are essential in order to facilitate data use effects in schools. (shrink)

Introducción: Los docentes universitarios requieren nuevos saberes para enfrentar los diversos retos que plantea la educación superior; dichos desafíos se relacionan con el dominio de saberes disciplinarios, profesionales, laborales, pedagógicos y didácticos e incluso axiológicos. Lo que aquí se presenta son los resultados de una investigación llevada a cabo en la Universidad Autónoma del Estado de México en el periodo de enero de 2014 a abril de 2015. El objetivo: fue determinar los saberes específicos, métodos de enseñanza y valores sociales (...) que deben poseer los profesores universitarios desde la perspectiva de los estudiantes para la identificación de aquellos principios que deben orientar la formación y actualización docente. Método: consideró el cualitativo y la técnica de la encuesta; fueron aplicados 119 cuestionarios diseñados en Escala de Likert, a igual número de estudiantes; el instrumento de 48 reactivos fue construido con base en tres grandes "baterías" o ejes: "Saberes de un buen docente", "Métodos o estrategias de enseñanza", y "Actitudes y valores". Resultados: se resaltan los saberes pedagógicos y didácticos como aquéllos que los estudiantes visualizan que les hacen falta a sus docentes; de éstos, son los métodos de enseñanza eminentemente prácticos, y aquellos vivenciales o más cercanos a la realidad los que se consideran como importantes. En términos de las actitudes y valores sociales que deben tener y demostrar los profesores, se encuentran la actitud profesional, la actitud de servicio, así como la responsabilidad y la ética. Conclusiones: se discute aquello que se considera deben saber, y lo que necesitan mejorar los docentes universitarios. Introduction: Professors require new knowledge to face the different challenges that higher education has. Those challenges are related with the mastery of disciplinary, professional, pedagogic, work-related, didactic and even axiological knowledge. The results of a research that was carried out at the Universidad Autónoma del Estado de México from January, 2014 to April, 2015; are presented in this article. Objective: To determine specific knowledge, teaching methods and social values that professors must have from the perspective of the students for identifying the principles which should lead teaching formation and updating. Method: The qualitative method and the survey as a procedure were considered. One hundred nineteen questionnaires that were designed in Likert scale were also applied to the same number of students; the instrument of 48 reagents was based on 3 axes: 'Knowledge of a good professor', 'Teaching methods or strategies' and 'Attitudes and values'. Results: Pedagogic and didactic knowledge is emphasized, for instance the one students consider their professors should have. However, the professors consider those teaching methods essentially practical, based on past experiences or closer to the reality as the most important ones. There are some attitudes and social values that professors must have and demonstrate, as well as the professional attitude, the service attitude, responsibility and ethics. Conclusions: the ideas that must be known and improved by the professors are discussed here. (shrink)

Introducción: Los docentes universitarios requieren nuevos saberes para enfrentar los diversos retos que plantea la educación superior; dichos desafíos se relacionan con el dominio de saberes disciplinarios, profesionales, laborales, pedagógicos y didácticos e incluso axiológicos. Lo que aquí se presenta son los resultados de una investigación llevada a cabo en la Universidad Autónoma del Estado de México en el periodo de enero de 2014 a abril de 2015. El objetivo: fue determinar los saberes específicos, métodos de enseñanza y valores sociales (...) que deben poseer los profesores universitarios desde la perspectiva de los estudiantes para la identificación de aquellos principios que deben orientar la formación y actualización docente. Método: consideró el cualitativo y la técnica de la encuesta; fueron aplicados 119 cuestionarios diseñados en Escala de Likert, a igual número de estudiantes; el instrumento de 48 reactivos fue construido con base en tres grandes "baterías" o ejes: "Saberes de un buen docente", "Métodos o estrategias de enseñanza", y "Actitudes y valores". Resultados: se resaltan los saberes pedagógicos y didácticos como aquéllos que los estudiantes visualizan que les hacen falta a sus docentes; de éstos, son los métodos de enseñanza eminentemente prácticos, y aquellos vivenciales o más cercanos a la realidad los que se consideran como importantes. En términos de las actitudes y valores sociales que deben tener y demostrar los profesores, se encuentran la actitud profesional, la actitud de servicio, así como la responsabilidad y la ética. Conclusiones: se discute aquello que se considera deben saber, y lo que necesitan mejorar los docentes universitarios. Introduction: Professors require new knowledge to face the different challenges that higher education has. Those challenges are related with the mastery of disciplinary, professional, pedagogic, work-related, didactic and even axiological knowledge. The results of a research that was carried out at the Universidad Autónoma del Estado de México from January, 2014 to April, 2015; are presented in this article. Objective: To determine specific knowledge, teaching methods and social values that professors must have from the perspective of the students for identifying the principles which should lead teaching formation and updating. Method: The qualitative method and the survey as a procedure were considered. One hundred nineteen questionnaires that were designed in Likert scale were also applied to the same number of students; the instrument of 48 reagents was based on 3 axes: 'Knowledge of a good professor', 'Teaching methods or strategies' and 'Attitudes and values'. Results: Pedagogic and didactic knowledge is emphasized, for instance the one students consider their professors should have. However, the professors consider those teaching methods essentially practical, based on past experiences or closer to the reality as the most important ones. There are some attitudes and social values that professors must have and demonstrate, as well as the professional attitude, the service attitude, responsibility and ethics. Conclusions: the ideas that must be known and improved by the professors are discussed here. (shrink)

There are questions about how ethics is best taught to undergraduate business students. There has been a proliferation in the number of stand-alone ethics courses for undergraduate students but research on the effectiveness of integrated versus stand-alone mode of delivery is inconclusive. Christensen et al. :347–368, 2007), in a comprehensive review of ethics, corporate social responsibility and sustainability education, investigated how ethics education has changed over the last 20 years, including the issue of integration of these topics into the core (...) course offerings. We use Brenner and Molander’s :57–71, 1977) situational ethics survey instrument to examine the effect of the mode of delivery of business ethics education on undergraduate student responses. We found a significant difference on mode of delivery. Studies have also found interesting results in respect of the effect of cultural differences and gender on the effectiveness of business ethics instruction. While not the primary focus of this study, we also looked at the influence of gender and culture on students’ responses. Our results indicate significant differences in respect of mode of delivery and culture. In contrast to other studies, we found that gender was not significant. We did test for any interactive effects of gender, culture and mode of delivery. However, no significant differences were found. (shrink)

The business enterprise is a major instrument in the creation of a just society. However the tension between profit and ethicality requires sound decision making and business ethics instruction is central to creative alternatives to business leaders. Therefore, instruction is aided with a model for framing one’s thoughts about ethics and while several earlier business ethics models exist, they tend to be closed and at times parochial. This paper draws on insights from other academic disciplines to offer a broader yet (...) flexible framework for professors, students, scholars, and decision makers. At the center of the model is the four stage framework of Rest et al. as impacted by four sets of variables—individual, organizational, environmental, and issue. These are rooted in the work of Dunlop’s Industrial Relations Theory and Jones’ Moral Intensity. A literature review of important variables is presented and the paper concludes with several take aways for instruction and policy suggestions. (shrink)

Buddhist teachings and practices can be viewed as a journey of soteriological transformation, where language, as a tool for the analysis of views, occupies a place of special significance and importance. This article examines how the concept of non-duality, from the Madhyamaka perspective, has served as a powerful rhetorical device with the explicit aim of fostering soteriological transformation. Among the various expressions representative of the Madhyamaka perspective, two are particularly explored in this article for their facilitation of soteriological transformation: the (...) expression of ‘neither a dharma nor a not-dharma’ and the teaching that ‘one should let go even of dharmas, still more so not-dharmas’ . I argue that the Madhyamaka expression of ‘neither A nor not-A’ is hardly ever just about conforming to any linguistic conventions. It is about gaining liberation from linguistic conventions and unexamined remarks. (shrink)

SUMMARYThis paper discusses the scientific instruments made and used by the microscopist Antony van Leeuwenhoek. The immediate cause of our study was the discovery of an overlooked document from the Delft archive: an inventory of the possessions that were left in 1745 after the death of Leeuwenhoek's daughter Maria. This list sums up which tools and scientific instruments Leeuwenhoek possessed at the end of his life, including his famous microscopes. This information, combined with the results of earlier historical research, gives (...) us new insights about the way Leeuwenhoek began his lens grinding and how eventually he made his best lenses. It also teaches us more about Leeuwenhoek's work as a surveyor and a wine gauger.A further investigation of the 1747 sale of Leeuwenhoek's 531 single lens microscopes has not only led us to the identification of nearly all buyers, but also has provided us with some explanation about why only a dozen of this large number of microscopes has survived. (shrink)

How should we teach controversial issues? And which issues should we teach as controversies? In this paper, I argue that educators should heed what I call a ‘psychological condition’ in their practical efforts to address these questions. In defending this claim, I engage with the various decision criteria that have been advanced in the controversial issues literature: the epistemic criterion, behavioral criterion, political criterion and politically authentic criterion. My argument is that the supporters of these various criteria have focused too (...) closely on the socio-political and epistemic qualities of controversial issues in deriving their controversial issues pedagogies and have thereby overlooked the necessary subjective conditions for teaching controversial issues. If our pedagogical efforts to cultivate students’ reason by means of controversial issues are to be successful, then we must understand controversy as fundamentally a psychological phenomenon consisting in an intellectual tension in the minds of students. In the final pages, I conclude by recommending several forms of directive teaching that promise to be instrumental for creating such intellectual tension. (shrink)

This study examines from an ethical framework the circumstances of workers who are engaged in non-professional services that are offered through corporations that are organized to serve high volume of costumers. Drawing on the relevant ethical teachings of the Catholic social tradition (CST), it explores some practices, strategies, and policies that could address the problems experienced by many service providers in the United States today. CST refers to a wide variety of documents of the magisterium of the Catholic Church which (...) respond to the changing social and economic challenges of the modern world. The study argues that the primacy of the person, love and subsidiarity, sense of community, and respect for worker’s rights and unionism in CST are not only moral principles that uphold intrinsic human goods, they are likewise instrumental to operational effectivity because they promote job satisfaction, smooth interpersonal relationship, and long-term commitment with the company. They enable service providers to work efficiently, deliver exceptional service, and act as conduit between the customers and the business establishment, rather than simply being caught between their conflicting demands. (shrink)

Reported is a study of French & Eng prosody. A list of items was developed which allowed the closest possible transposition between langs (eg, a photograph/une photographie). The items were placed in carrier phrase of the type It's a .../C'est une ... Ss were asked to read each sentence with neutral, emphatic, & surprised intonation. Ss were French & US students (N = 1 each). In a second phase, French-speaking students were asked to repeat the Eng sentences from a written (...) text &, later, from the model of the recording obtained in the first phase. Based on the analysis of these productions, suggestions are made concerning teaching of pronunciation. It was found that many of the French speakers tended to hypercorrect when speaking Eng. Students did not sufficiently lower the accent on unaccented syllables, perhaps as an effect of intonation patterns carried over from French. 13 References. B. Annesser Murray. (shrink)

The Covid-19 virus appeared very fast around the globe and caused many damages to all of us. It caused many troubles in different fields such as: economics, business, factories, education etc. Many institutions around the world faced challenges and tried to find solutions. But the most difficult challenge was about online teaching; most of the countries suggested many strategies and methods to teach students and learners through distinctive materials and online platforms. It was suggested to use online programs as (...) Google Classroom, Google Meet, Skype, Zoom and many other technological tools in order to help learners to continue with their studies. Using online platform in our country was very demanding because of many factors that influenced all of us. Although many teachers from different schools used many devices during the pandemic, ZOOM was the main one. Teachers had different experiences and challenges during their teaching process through online platforms. They had many problems especially in the assessment and evaluation part; it was very difficult to evaluate learners through technology instruments and grading them correctly. This study is about teachers’ experience with the ZOOM platform, to discover if teachers had difficulties with online teaching during the pandemic. This case study's outcomes present valuable information to the teachers and future researches because there is a limited number of studies in this field. (shrink)

This paper tackles the current challenges to private sector unionism in the United States in light of Catholic social teaching (CST). The focus of the study is unionism in the private sector where the fall-off in membership is observed. CST is contained in a wide variety of official documents of the Catholic Church, in particular papal encyclicals, which present ethical norms for economic life in response to the changing realities of the modern world. The study begins with an analysis (...) of the concrete situation: the causes of decline in union membership. It is followed by an ethical reflection on CST’s perspectives and exploration of practices, strategies, and policies that can help reverse the ongoing trend of union decline and revitalize the labor movement in the country. The paper argues that unions are good in themselves as an expression of the workers’ right to associate and instrumentally good as they invoke such values as the dignity of work, solidarity, subsidiarity, common good, and economic equality. While it has been proven that workers and society as a whole gain material benefits from effective unionization, focus on intangible benefits and moral principles offered by CST may give labor organizing a new impetus and inspiration. (shrink)

Moral sensitivity and moral reasoning are essential competencies biomedical researchers have to develop to make ethical decisions in their daily practices. Previous research has shown that these competencies can be developed through ethics education. However, it is unclear which underlying mechanisms best support the development of these competencies. In this article we argue that the development of moral sensitivity and moral reasoning can be fostered through teaching strategies that tap into students’ moral imagination. We describe how moral imagination can (...) stimulate the development of these competencies through three different merits of moral imagination. Moral imagination can help students to 1) transfer and apply abstract moral concepts to concrete situations and contexts, 2) explore the perspective of others, 3) explore and foresee the moral consequences of different decisions and actions. We explain these three merits of moral imagination in the context of biomedical research and present a theoretical model for how these merits can be used to stimulate the development of moral sensitivity and moral reasoning. Furthermore, we describe multiple teaching strategies for biomedical curricula that tap into the three merits of moral imagination. These teaching strategies can inspire teachers to design ethics education that activates students’ moral imagination for the development of moral sensitivity and moral reasoning. (shrink)

Creativity is an essential factor in ensuring the sustainable development of a society. Improving students’ creativity has gained much attention in education, especially in Science, Technology, Engineering, Arts, and Mathematics education. In a quasi-experimental design, this study examines the effectiveness of a project-based STEAM program on the development of creativity in Chinese elementary school science education. We selected two fourth-graders classes. One received a project-based STEAM program, and the other received a conventional science teaching over 6 weeks. Students’ creativity (...) was assessed before and after the intervention using a multi-method approach, including a test of divergent thinking, a story completion through the Consensus Assessment Technique, a creative self-efficacy measure, and a group-based creative project. Moreover, all students received a test of their science knowledge after the intervention. The results showed that compared with the control group, the creativity of the experimental group students improved significantly for 6 weeks at both individual and group level, even though their knowledge in science were comparable. This result confirmed the effectiveness of a project-based STEAM educational program improving elementary school students’ creativity. Implications are discussed. (shrink)

Providing quality education means to respond to the diversity in the classroom. The teacher is a key figure in responding to the various educational needs presented by students. Specifically, special education professionals are of great importance as they are the ones who lend their support to regular classroom teachers and offer specialized educational assistance to students who require it. Therefore, special education is different from what takes place in the regular classroom, demanding greater commitment by the teacher. There are certain (...) behaviors, considered good teaching practices, which teachers have always been connected with to achieve good teaching and good learning. To ensure that these teachers are carrying out their educational work properly it is necessary to evaluate. This means having appropriate instruments. The Observational Protocol for Teaching Functions in Primary School and Special Education (PROFUNDO-EPE, v.3., in Spanish) allows to capture behaviors from these professionals and behavioral patterns that correspond to good teaching practices. In this study the behavior of two special education teachers who carry out their educational work in different contexts is evaluated. It reveals that teachers who were analyzed adapt their behavior depending on the context in which they carry out their educational work, providing the most appropriate response to the needs presented by students and showing good teaching practices. (shrink)

Contemporary education policy discourse in the United States views teaching as the primary instrument to effect student achievement, and teachers are responding by leaving the profession and discouraging students from becoming teachers. While teaching is more commonly associated with hope, I argue that the growing dissatisfaction of teachers with their profession can be understood through despair as an ethical act. Rather than disavow the role of despair in teaching and education more broadly, the critical and provocative roles (...) of despair are emphasised here as an ethical response to a normative order of effective teaching. These roles are expressed through the question of why bother. Understanding why bother teaching as an ethical question that arises from despair serves to critique the present and provoke movement without yet projecting a future. Thus, this paper traces the ways the ethical negates a normative order to arrive at a teaching that does not follow from instrumental logic in service of a future goal, aim, or objective. This leads to a consideration of the risks involved in despairing the ethical, which I describe as a practice for which risk cannot be managed or minimised while remaining ethical. (shrink)

his study aims to determine whether the application of brain-friendly learning through whole brain teaching gives a positive effect on the creative character of students, to know the response of the students against the application of brain-friendly learning through whole brain teaching, and to find out if the student response against the application of brain-friendly learning through whole brain teaching correlates positively with the creative character of students in learning mathematics. The research method used that is quantitative. (...) The instruments used, namely the now student response related application of brain-friendly learning through whole brain teaching, and sheets of observation about the creativity of students in learning mathematics after implementing this method. The correlation analysis with the results of the study showed that the value of the larger significance of the alpha values (5%) which means accepting and rejecting H0 Ha which means student response against the application of brain-friendly learning through whole brain teaching not correlated positively with the creative character of students in learning mathematics. The average student response score against this method is found on very good i.e. amounted to 85%. As for the observations of the creative character of the students, after this method is applied, the average score of 68% is found quite creative. (shrink)

The purpose of this study was to determine whether the application of learning brain-friendly through the whole brain teaching a positive effect on the character of creative students, to study the response of the students, and to determine whether the students' response to the application of learning brain-friendly through the whole brain teaching positively correlated with the character of creative students in mathematics. The research method used is quantitative. The instruments used are student questionnaire responses related to the (...) application of brain-friendly learning through the whole brain teaching and observation sheet on student creativity in the learning of mathematics after the implementation of this method. Results of research with correlation analysis show that the greater significance of the alpha value (5%), which means accepting and rejecting H0 Ha which means students' response to the application of brain-friendly learning through the whole brain teaching is not positively correlated with the creative character of students in the learning of mathematics. The average score of the students' response to this methodology very well categorized in the amount of 85%. The results of the observation of the creative character of the students after the implementation of this method, the average score of 68% were categorized quite creative. (shrink)

The objective of the study is to verify the reliability and validity of the Factors Influencing Teaching Choice, as well as to determine the teaching of Early childhood and Primary education students’ motivations and perceptions for the choice of this degree. The sample consisted of 262 student teachers aged between 18 and 27. According to degree, 54.2% of the participants were enrolled in Early Childhood Education and 45.8% in Primary Education. The instrument used in the study was the (...) Factors Influencing Teaching Choice, FIT-Choice Scale, adapted to Spanish by Gratacós and López-Jurado. Results evidenced the high reliability and validity of the scale that is similar to the original model, presenting 12 motivational factors and 6 perceptions. The main reasons that lead to choose teaching profession, despite gender differences, are: having influence in the educational children’s process, the intrinsic value of the qualification, the fact that this profession contributes socially, or working with children. Also, students consider that teaching is a demanding profession and they are satisfied with the degree choice. The most important factors influencing the choice of education degree are intrinsic motivations and perceptions as the vocation, in contrast to external reasons such as economic incentives or social recognition. (shrink)